（原标题：Dolphin or Chicken? 15th National Games Mascots Turn a Meme into GBA Value丨CBN Perspective）开云kaiyun

By Stephanie LI丨SFC, 21st Century Business Herald

The 15th National Games, co-hosted by Guangdong, Hong Kong, and Macao, has garnered widespread attention not only for its sports events but also for a surprising cultural phenomenon: the playful public debate surrounding its official mascots, “Xiyangyang” and “Lerongrong.”

Designed as Chinese white dolphin, a Grade 1 National Key Protected Species, with their names symbolizing joy, harmony, and unity, the pair has sparked a viral online discourse where netizens affectionately dub them "Greater Bay Chickens"—a lighthearted misinterpretation rooted in their round silhouettes and pink-and-white color scheme, which evoke Cantonese culinary staples soft-boiled chicken and soy sauce chicken.

In an interview with China Daily, Liu Pingyun, also the creative mind behind the Beijing Winter Olympics’ “Bing Dwen Dwen,” said the designing team was really worried about ending up with a mascot that people would link to food. So they went with Chinese white dolphins—thinking, surely dolphins wouldn’t get mistaken for something edible?

Guess what? They’ve simply underestimated the imagination and humor of Cantonese people. When statues of "Xiyangyang" and "Lerongrong" popped up on Guangzhou's streets to hype up the National Games, locals were quick to joke: "It has a chicken's tail, wings, beak, and comb, so why not a chicken?”

This unexpected meme has transcended mere entertainment, becoming a window into how regional cultural elements can intersect with event economics to drive widespread engagement. What initially began as a casual online joke has evolved into a cultural touchpoint, bridging the gap between a national sports event and everyday public experience.

Despite the fact that the "comb" actually features the three symbolic colors—red, purple and green, which represent Guangzhou’s kapok flower, Hong Kong’s bauhinia, and Macao’s lotus; let's be real—the internet only believes what it wants to believe. Well, who can blame them? After all, Cantonese are all about food!

The design also incorporates scientific accuracy: the pink-hued “Lerongrong” mirrors the natural color change of Chinese white dolphins when active, while the white “Xiyangyang” represents the species’ resting state, adding a layer of educational value to the cultural symbol.

Beneath the humorous public reaction lies a meticulously crafted design that embodies the unity and uniqueness of the Greater Bay Area. This deliberate choice reflects the games’ mission to celebrate regional integration while showcasing distinct local identities.

The cultural histories of Guangdong, Hong Kong and Macao each possess unique characteristics. Hong Kong and Macao showcase a vibrant fusion of Eastern and Western cultures, according to the lead designer.

Despite these distinctions, the three regions share common foundations such as language, the appreciation of Chinese culture and a unique maritime heritage from their locations along the Maritime Silk Road. While preserving their distinctiveness, the regions demonstrate a marvelous integration, embodying the cultural essence of the GBA, Liu Pingyun said.

Originally from Jiangxi province, Liu relocated to Guangzhou in 2000 to study for his master's degree, and then to Macao in 2018 to pursue a doctorate. Subsequently working at the school of visual arts design at the Guangzhou Academy of Fine Arts, where he now serves as the dean, he has spearheaded numerous design projects, including the creation of the widely acclaimed Beijing Winter Olympics mascot “Bing Dwen Dwen.”

Now as the popularity of the "Greater Bay Chickens" continues to rise, with related online topics racking up over 500 million views and search volume surging by 300%—poised to become the most explosive cultural and sports IP in the Greater Bay Area this year, they have also translated into substantial economic impact, particularly for GBA manufacturing and cultural industries.

Official data revealed that the event has attracted 33 licensed manufacturers and 44 retailers from across the country. As of Wednesday, a total of over 2,800 licensed products spanning 20 categories, ranging from plush toys and blind boxes to cultural souvenirs, have been approved, setting a new record in terms of both quantity and variety compared to previous editions. The total market value of launched licensed products has exceeded 680 million yuan.

Dongguan, known as China’s "toy capital," has emerged as a key production hub: factories in Liaobu and Chashan towns have developed over 1,500 types of authorized products, leveraging the city’s industrial expertise to meet soaring demand.

This collaboration between event organizers and local manufacturers has not only boosted short-term sales but also strengthened the region’s reputation as a leader in cultural product development. It demonstrates how a single cultural symbol can activate a full industrial chain, from design to production and market distribution.

Beyond commercial success, the mascots serve as a catalyst for promoting intangible cultural heritage and regional traditions. The games have integrated local cultural elements into event experiences, such as wooden clogs from Dongguan’s Shilong town—given as gifts to athletes to symbolize "ascension"—and handcrafted drums from Xinchang. Plans to incorporate regional delicacies like goose rice noodles further highlight the games’ role as a platform for showcasing Lingnan culture.

By linking a national sports event to grassroots cultural practices, the mascots have fostered a deeper sense of cultural pride and accessibility. They allow audiences, both local and national, to connect with regional traditions through a familiar and beloved symbol.

Unlike rigid promotional symbols, the adorable mascots evolved into a shared cultural reference, bridging the gap between formal sports events and everyday life.

Either a happy coincident or a meticulous plan, the “dolphin-or-chicken” hype serves as another model of successful event economics that is not merely about infrastructure investment but about creating cultural touchpoints that resonate with diverse audiences—whether through humor, nostalgia, or emotional connection.

As digital platforms continue to reshape audience engagement, the ability to blend cultural authenticity with online trends will be key to unlocking the full economic potential of future large-scale events.

Editor: LI Yanxia

Host: Stephanie LI

Writer: Stephanie LI

Sound Editor: Stephanie LI

Graphic Designer: ZHENG Wenjing, LIAO Yuanni

Produced by 21st Century Business Herald Dept. of Overseas News.

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